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This text aims to analyze the process of passing on choreographies, as exemplified in the work of the Tanztheater Wuppertal Pina Bausch. It presents this process as a praxis of translation. The paper discusses the limitations and possibilities of translating choreography, as well as the specific potential inherent and visible in practices of translating choreographies by Pina Bausch. From a philosophical and sociological perspective of translation theory and based on a methodology of the ‘praxeological production analysis’ (Klein, 2014a; 2015a), I’m using data gathered during rehearsals and two years of interviews with dancers and collaborators of the Tanztheater Wuppertal Pina Bausch. The text will demonstrate that the translation of choreographies is characterized by a paradox between identity and difference.

Cinema and nationalism are two fundamentally modern phenomena, but how have films shaped our understanding of the creation -the 'imagining' - of Central-Asian nations? Here, Rico Isaacs uses cinema as an analytical lens to explore how the Kazakh national identity has been constructed and contested. Drawing on an analysis of Kazakh films from the last century, and featuring new interviews with directors and critics involved in the Central Asian film industry, his book traces the construction of nationalism within Kazakh cinema from the country's inception as a Soviet Republic to a modern independent nation.Isaacs identifies four narratives since the collapse of the Soviet Union: a warrior-like 'ethnic' narrative rooted in the 18th Century struggles against the Mongolian Oirat tribes; a 'civic' inspired narrative cemented in the Stalinist deportations of the 1930s and 40s; a religious narrative founded within the mystic and philosophical religion of Tengrism and the cult of the Sky God; and a socio-economic narrative which roots Kazakh nationhood and identity in contemporary social divisions, the lived day-to-day experiences of ordinary citizens and the struggles they face with authority. These last two tropes demonstrate how cinema has emerged as a site of dissent against the country's authoritarian regime under President Nazarbayev. Film and Identity in Kazakhstan advances our understanding of Kazakhstan and nationalism by demonstrating the multiple and inessential character of each, and illustrates the important role of cinema in contesting political power in the post-Soviet space.

This text aims to analyze the process of passing on choreographies, as exemplified in the work of the Tanztheater Wuppertal Pina Bausch. It presents this process as a praxis of translation. The paper discusses the limitations and possibilities of translating choreography, as well as the specific potential inherent and visible in practices of translating choreographies by Pina Bausch. From a philosophical and sociological perspective of translation theory and based on a methodology of the ‘praxeological production analysis’ (Klein, 2014a; 2015a), I’m using data gathered during rehearsals and two years of interviews with dancers and collaborators of the Tanztheater Wuppertal Pina Bausch. The text will demonstrate that the translation of choreographies is characterized by a paradox between identity and difference. Résumé: Ce texte cherche à analyser le processus de transmission de la chorégraphie en l’abordant à partir de l’exemple du Tanztheater Wuppertal Pina Bausch et en présentant ce processus de transmission comme une pratique de traduction. Les limites et les possibilités de la traduction de la chorégraphie sont discutées ici, ainsi que le spépotentiel inhérent et visible dans les pratiques de traduction dans les chorégraphies de Pina Bausch. Dans une perspective philosophique et sociologique de la théorie de la traduction, et reposant méthodologiquement sur ‘l’analyse praxéologique de la production’ (Klein, 2014a; 2015a), le texte utilise les données recueillies par Klein lors des répétitions de l`ensemble et pendant deux années d’entretiens avec des danseurs et des collaborateurs du Tanztheater Wuppertal Pina Bausch. Il démontrera que la traduction de la chorégraphie est caractérisée par un paradoxe entre identité et différence. Resumo: O texto analisa a transmissão de coreografias a partir do exemplo do trabalho do Tanztheater Wuppertal Pina Bausch - processo apresentado como uma prática de tradução. As possibilidades e os limites da transmissão da coreografia contemporânea são aqui discutidos, bem como os potenciais inerentes às traduções de coreografias da forma como o Tanztheater Wuppertal e a Fundação Pina Bausch as praticam. A partir de teorias filosóficas e sociológicas da tradução e com base em procedimentos metodológicos da “análise praxiológica de produção” (Klein, 2014a; 2015a), trato neste material de dados coletados e avaliados durante visitas a ensaios e em entrevistas realizadas com bailarinos e funcionários do Tanztheater Wuppertal durante mais de dois anos. O texto pretende demonstrar que a transmissão de coreografias é caracterizada pelo paradoxo entre identidade e diferença.

Television provides a unique account of the development of a homosexual identity across the western world, emerging as it did when ideas around sex and sexuality were themselves only just beginning to be publicly discussed. From the very earliest surviving drama featuring homosexuality in 1959, Homosexuality on the Small Screen explores each decade's programming in turn, looking at homosexual themes, storylines, and characters, situating them historically, and relating them to the broader events in British history. By doing so it examines the interactions between the medium and the reality of gay lives, showing how television mirrored the changes taking place in British society. For those with a homosexual - or emerging homosexual - sexual orientation, they were seminal in early personal and social development. For heterosexual viewers, these images were equally important in exploring a sexual other which otherwise remained hidden from them. They included positive storylines which helped improve public ideas about homosexuality, but also stereotypical images which propagated negative attitudes in the public consciousness. Homosexuality on the Small Screen charts this fascinating journey and television's role in the construction of a gay identity.

When Head-On (Gegen die Wand, 2004) won the Golden Bear at the Berlin International Film Festival, it was hailed as a turning point for German cinema. Not only was this unconventional love story the first German film in eighteen years to win the prestigious award, but the success of writer-director Fatih Akin was also celebrated as the revival of German auteur cinema. Meanwhile Turkey claimed Akin as its own prodigal son and his film a victory for Turkish cinema. Daniela Berghahn provides a detailed and entertaining account of the film’s artistic inspirations, its production history and the debates that surrounded it in the German and Turkish press. Arguing that much of the media discourse on Turkish German identity politics detracted from Akin’s remarkable artistic achievement, Berghahn instead situates Head-On in the critical contexts of global art cinema and transnational melodrama. This comparative approach excavates new layers of meaning and offers highly original insights into Akin’s landmark film.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. The second book in the series, Postcolonial Theory and Avatar offers a concise introduction to postcolonial theory in jargon-free language and shows how this theory can be deployed to interpret James Cameron’s high-grossing, immensely popular, and critically acclaimed 2009 film. Avatar is widely celebrated for its politically and culturally sensitive critique of the “West’s” neocolonial wars and exploitation of the “global south” – an allegory for (neo)colonialism – and for highlighting the plight of tribal communities throughout the world (for instance, the case of the Dongriah Kondh tribe of India). At the same time, it has been also criticized for repeating the colonialist fantasy of saving natives doomed by imperialist aggression. Intervening in this debate over how to read the film, Basu Thakur focuses on issues of representations, discourse, subalternity, and subjectivity, all of which have been central to postcolonial theory and postcolonial analyses of culture. This history will help students and scholars who are eager to learn more about this important area of theory and bring the concepts of postcolonial theory into practice through a detailed interpretation of the film.

Upon its release in 1956, Don Siegel's Invasion of the Body Snatchers was widely perceived as another 'B' movie thriller in the cycle of science fiction and horror films that proliferated in the 1950s.

In an increasingly globalized world of research, communicating with scholars in the same language and culture and with scholars from other cultures and linguistic background is a sine qua non in/of all sciences, including those using qualitative social research. The nature of language is at least latently recognized especially by those scholars who communicate with their peers in a non-native language, such as English, which has become de facto the scientific lingua franca. Although many are aware of the difficulties of rendering something a scholar wants to say in another language, the nature of language as a non-self-identical process is hardly if ever articulated. Instead, the metaphysical idea of the same \"meanings\" that can be rendered in multiple languages by means of translation--literally, \"carried across\"--is endemic to the scientific culture. In the very definition of science (e.g., in the description of research methods), experiments must operate the same (must be reproducible) wherever and by whomever these are conducted. In this contribution to the debate concerning translation, conducted in the context of the FQS debate \"Quality of Qualitative Research,\" I articulate theoretical and pragmatic dimensions on the topic, drawing on empirical investigations, literary works, and philosophical investigations to explicate how translation is both theoretically impossible and pervasively achieved in/as everyday praxis. URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1302132

Purpose – The paper aims to propose an analytical framework for social influence and mathematical formulation for its main components: conformity and peer-pressure. The framework is conceived to explain why certain behaviours and beliefs propagate in a society and some others disappear. It can also be used to study the emergence and the evolution of the status of the norms in terms of their adoption by the population. Design/methodology/approach – The paper is theoretical, making use of economic quantitative methods. The author proposes a new formulation for the evolutionary dynamics, increasingly borrowed by social scientists. Then, mathematically treating the equation, the author draws general conclusions in form of lemmas, which are proved. Findings – The author's main contribution is to show that even behavioural rules and beliefs that emerge in a minority subset of the population, do not procure any benefit for the agents adopting them can under certain conditions, evolve into the consensus of a society, become a norm. Research limitations/implications – More general conclusion (theorems and lemmas) could be stated and proved. But given that the main contribution of the paper is to the fields of social and behavioural economics, along a number of disciplines less mathematical than economics, the author kept the analysis that required fairy advance mathematics for later. Practical implications – The paper contributes to the evolutionary game theory, evolution of preferences, and evolution of beliefs and social norms. More precisely, the equation proposed in the paper can be used in the contexts the patterns of heterogeneity in a population are affected or caused by social influence. Or in the contexts, the social institutions are susceptible to affect an agent's sense of identity (e.g. voting, fashion industry, marketing). Originality/value – In this paper, for the first time, a mathematical formulation is proposed for the social influence and its main psychological components (conformity and status seeking). Using the above, the author proposed a new parametric fitness function for the evolutionary dynamics. The author believes the paper matters to a multidisciplinary public. It answers a question that challenged and puzzled the economists (as well other social scientists): the reasons behind the emergence and the prevalence of social norms do not positively contribute to the utility or payoff of the agents adopting them (and at times they are costly).

Steampunk Film: A Critical Introduction is a concise and accessible overview of steampunk's indelible impact within film, and acts as a case study for examining the ways with which genres hybridize and coalesce into new forms.